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An Analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn

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An Analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 From the Academy to the Marketplace: An analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art Education Commons, Curriculum and Instruction Commons, and the Higher Education Commons From the Academy to the Marketplace: An Analysis of New York and London Fine Art Schools’ Responses to the Market in Pedagogy and Curricula By Adelaide Dunn A thesis submitted in conformity with the requirements for a Master of Arts in Art Business Sotheby’s Institute of Art, New York 2018 14,976 words Abstract As fine art degrees expand in cost and popularity, the need to educate students about the complex art market they are entering is more urgent now than ever before. But despite the globalizing art market’s continuing demand for emerging talent, its opaque and hypercompetitive nature generates significant obstacles for fine art graduates. This is exacerbated by the relative absence of practical business and legal skills implemented in fine art curricula across the U.S. and U.K. Statistical and anecdotal evidence highlighting the many entrepreneurial skills required to develop and sustain a professional practice, demonstrates the need for more comprehensive professional development syllabi to be implemented in fine art schools. This thesis takes as its main focus the art markets of New York and London, and assesses how fine art schools in these rapidly intensifying urban centers respond to their commercial environments. The history of Western artist education, and how this has developed in conjunction with the art market, provides a context for curricular reform. The anti-authority, experimental and individualized approaches to art school pedagogy that became popular in the 1960s directly influence fine art schools today. This results in an ethic of market-aversion among students and faculty, which is formalized in accreditation standards and curricular design. This results in many fine art graduates being mostly unprepared to tackle the business and legal challenges of the art market, resulting in low earnings and exploitation by market players. Four fine art schools across New York and London have responded to these difficulties by implementing professional development coursework that offers students practical entrepreneurial skills, as well as opportunities to philosophically question the economic, social and political circumstances of art practice. This strategic and discursive pedagogy, which focuses on student outcomes, is also cemented through experiential and project- based learning. These exemplary approaches, and findings from quantitative and qualitative data, generate a set of recommendations for an ideal syllabus in business and legal skills for artists, to be implemented in a postgraduate fine art program. A prototype for such a syllabus appears at the conclusion of this thesis. Table of Contents INTRODUCTION ....................................................................................................................................... 1 1. THE HISTORY OF ARTIST EDUCATION IN EUROPE AND THE UNITED STATES .................................... 5 I. PRE-TWENTIETH CENTURY ARTIST EDUCATION ........................................................................................ 5 i. The Medieval Workshop and the Shift from Craftsman to Artistic Genius .................................. 6 ii. The Academies of France, Britain and America ......................................................................... 8 iii. From the French Atelier to the Private Art School.................................................................... 11 II. POST-TWENTIETH CENTURY ARTIST EDUCATION .................................................................................... 13 i. The early twentieth century and the influence of the Bauhaus ................................................ 13 ii. Postwar art schools: hiGh modernism, criticism, and individuality ........................................... 16 iii. The twenty-first century art school and the “M.F.A. Boom” .................................................... 20 CHAPTER 2: FINE ART EDUCATION AND MARKET AVERSION TODAY ..................................................... 23 I. INFORMAL BARRIERS ....................................................................................................................... 23 II. FORMAL BARRIERS .......................................................................................................................... 28 CHAPTER 3: THE MARKET-RELATED CHALLENGES OF FINE ART SCHOOL GRADUATES ............................ 32 I. THE STRUCTURE OF THE INTERNATIONAL ART MARKET(S)......................................................................... 32 II. ARTIST CAREERS AND LIVELIHOOD: ANECDOTAL EVIDENCE ........................................................................ 35 III. ARTIST CAREERS AND LIVELIHOOD: STATISTICAL STUDIES ...................................................................... 43 i. Alternative Sources for the Professional Development of Artists ............................................. 49 CHAPTER 4: RESPONSES TO THE ART MARKET IN NEW YORK AND LONDON FINE ART SCHOOLS ........... 51 CASE STUDY 1: THE SCHOOL OF VISUAL ARTS, NEW YORK (“SVA”) .................................................................... 52 CASE STUDY 2: COLUMBIA UNIVERSITY SCHOOL OF THE ARTS, NEW YORK ............................................................ 55 CASE STUDY 3: THE UNIVERSITY OF THE ARTS SCHOOLS, LONDON (“UAL”), AND CENTRAL SAINT MARTINS (“CSM”) .... 59 CASE STUDY 4: THE ROYAL COLLEGE OF ART, LONDON (“RCA”) ........................................................................ 64 CONCLUSION AND RECOMMENDATIONS .............................................................................................. 69 BIBLIOGRAPHY ....................................................................................................................................... 72 APPENDICES........................................................................................................................................... 80 APPENDIX 1: LISTS OF PROFESSIONAL DEVELOPMENT RESOURCES FOR VISUAL ARTISTS ............................................ 80 Table 1: Resources for Artists in the United States .......................................................................... 80 Table 2: Resources for Artists in the United KinGdom ...................................................................... 83 APPENDIX 2: PROPOSED SYLLABUS IN BUSINESS AND LEGAL SKILLS FOR ARTISTS ..................................................... 85 i Acknowledgements I would like to thank my supervisor, Paul Melton for providing detailed and constructive advice throughout all stages of this project, and for igniting my interest in the business of art. To Franklin Boyd, thank you for sharing your syllabus, teaching methods, and lessons learned teaching the law of art. To Jenny Gibbs, thank you for volunteering your helpful ideas and suggestions, and for the delicious Thanksgiving dinner. To Jackie Battenfield, thank you for sharing your syllabus, and your invaluable anecdotes about teaching young artists how to make a living from their art. To Dr. Hayleigh Bosher, thank you for explaining your unique pedagogical approaches and your experiences teaching intellectual property to creative students. To Professor Juan Cruz, thank you for providing me with an in-depth perspective on what goes on inside the United Kingdom’s top art and design school. To Alex Schady, thank you for our dynamic conversation about the role of fine art schools in a politically and financially uncertain time. To Mia Taylor, thank you for providing your valuable perspectives as a fine artist and educator. To Katie Hession, thank you for being candid about the many ways that young creatives are exploited by the creative industries. To Bartolomeo Meletti, thank you for sharing your innovative strategies for teaching creators about intellectual property rights. To Carrie Able, thank you for sharing your experiences of art school, of running a gallery and of navigating the art market as a multidisciplinary artist. To Jeremiah Ojo, thank you for sharing the results of your years of research into the art business and dedication to the professional development of artists. To John Richey and Marly Hammer, thank you for offering me your perspectives as curators, critics, fine artists and gallerists. To Vladislav Sludskiy, thank you for offering your opinions as an international gallerist and curator. To Joanne Kersh, thank you for sharing your opinions and research findings as a representative of the Association of Independent Colleges of Art & Design. To Ashley Devenish Robinson, thank you for sharing my passion for this project, for pointing me in the right direction and giving me valuable career advice. To Julia Paeslack, thank you for the meals, emotional support, and your endless art world expertise. ii Introduction [W]hether you are a commercial banker or a conceptual artist, the market is the ocean that we all swim in. And, to stay afloat, everyone needs a boat. That boat is built out of the tools of the market. Some people will be professional boat-builders — they will work in the market itself — but all of us still need a boat of some kind to survive.
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